Caitlin Snow has always seen her powers as a curse. For all the potential upsides that generating ice can have, her powers have altered her body and her mind, forcing her to commit heinous acts for survival– thus her other name, Killer Frost. As a member of the Justice League of America, Caitlin’s friends have given her a support network that she hasn’t had before, giving her the hope that her fate could change. Her curse could become a gift.

However, enter the Queen of Fables, Tsaritsa. She granted Caitlin’s deepest wish– to look and feel normal again. With her powers intact, no less. But that gift had a consequence. The more wishes Tsaritsa granted, the more powerful she became. And now she’s come to Earth in an effort to ascend Immateria, a plane where she’d be able to control the thoughts and imaginations of everyone in the world. And it’s up to the JLA to stop her…and Caitlin as well.

Check out the Beat’s exclusive preview of Justice League of America #24, out next Wednesday, after the jump.

Writer: Steve Orlando

Penciller: Neil Edwards

Inkers: Daniel Henrioles & Andy Owens

Colorist: Hi-Fi

Letterer: Clayton Cowles

“NEW LIFE AND DEATH” part one! Batman has returned following the Queen of Fables saga, proud of how the team has grown. But there’s one more mission he needs to complete. Along with Black Canary, he travels to the world of Angor, home of the Extremists, to help rebuild the world without the influence of the mad dictator Lord Havok. But when he learns what’s happening, will Lord Havok punish Canary and Batman for their actions?


  1. This is the literal bottom of the barrel being scraped. Between Doomsday Clock and this, DC’s entire publishing plan seems to be based on Alan Moore.

  2. I’ve only read the first tpb of this title and it struck me as the comics equivalent of a Berlanti/CW tv show, in a good way. It helped to have Snow, and Lobo was acting like Heatwave from Legends. Canary.

    Have to agree with reviews that it’s the most interesting the League books have been in ages. A Promethea could be fun written by Orlando. High hopes.

  3. My love for Orlando and this team (Aztek!!!) clashes with my disdain for using Moore’s characters against his will. They didn’t even have the decency to tell the artists. Pass.

  4. “This is the literal bottom of the barrel being scraped.”

    Why? If Moore cared about this property so much, he would’ve requested the rights like he did for the oh-so-original LoEG.

    Scraping the bottom of the barrel would be having a Tom Strong, Supreme, and Miracle Man team-up book.

  5. Skip,

    Moore gave the artists the choice to either retain their rights or sign them over to Wildstorm in exchange for a higher page rate. Everyone opted for the higher page rate other than Kevin O’Neal. JH Williams had a Sandman-like deal where even though he signed over the character rights, he and Moore retained right of refusal of the characters in Promethea being used in other works.

    Beyond that, the entire point of Promethea is violence is only the solution to conflict when there’s no imagination. So, her inclusion in this story seems to miss the entire point of the character.

    DC’s entire publishing plan is built around using old Alan Moore characters. Quite frankly, that’s pathetic.

  6. Their…entire…publishing plan? I don’t see much Moore in that DC Ink/Zoom stuff, or The Wild Storm, or Young Animal, or Mister Miracle beyond some stylistic influence, or Metal, or 95% of their mainline superhero books.

    We can discuss the ethics of using these characters without diving into hyperbole.

  7. How about their entire publishing plan for books that actually sell?

    Young Animal is just a vanity line for a rock star cashing in on Grant Morrisson. So, more 80s nostalgia.

    Wild Storm is half ideas Alan Moore gave them and half stuff from an artist popular in the 90s.

    We can keep doing this all day. DC is creatively bankrupt and depends on nostalgia properties from guys no longer working on them to keep the ship afloat. (Jim Lee is obviously there, but as an executive.) Nothing else sells any meaningful numbers anyway.

    Marvel is just as bad. Really, all superhero comics are garbage treading on decades old nostalgia.

    Liking nostalgia is fine in and of itself. But I have a real problem when these companies take advantage of the fact the creators can’t afford the legal bills to fight back and use that controversy to prop their sales.

  8. LITG retained rights because it had already been sold as a film, pre publication.

    JH Williams came to Promethea late, after deals had been done. They were meant to be creator participant deals however.

    Mister Miracle is incredibly Moore-like. One issue was directly based on Big Numbers. Young Animal, like Morrison’s Doom Patrol. took a lot from Swamp Thing. Compare pre-Moore Wildstorm and post-Moore Wildstorm as to where the influence may lie.

    Skip, Tom Strong is in The Terrifics. The most recent Detective Comics reprised Miracleman #15. Multiversity is very Supremium….

  9. Rich,

    I think that Young Animal read puts aside Milligan and McCarthy’s rather sizable influence on Morrison and on Vertigo as a whole. Moore is certainly there, but so are those guys. Mister Miracle also shares some DNA with Thriller, a comic Moore fancied quite a bit too if memory serves. And yes, The Multiversity at its core has a lot in common with Supreme…but those ideas are hardly original, unless we want to yank that thread hard enough and give Gardner Fox his deserved credit. The Multiversity has a nice chunk of Starlin in there too.

    Influences abound everywhere. Keep in mind, I firmly agree with the idea that Moore is the most influential American-market comics creator post-Kirby, but the idea that his work is the only thing driving a publisher’s output? I can’t line up behind that.

  10. How does Rich Johnston have time to report on everything and fact check THE COMMENTS on other websites? IT’s very impressive. I guess I’ll do more fact checking over on his site as a courtesy.

  11. It sucks when writers appropriate other creators’ characters without taking the wishes of their creators into account. You’d think Alan Moore would have considered that before he wrote Watchmen, League of Extraordinary Gentlemen, and Lost Girls, but apparently the issue isn’t of concern to him.

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